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THE THEME of INNOCENCE in MIYAZAWA KENJI's TALES By

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THE THEME of INNOCENCE in MIYAZAWA KENJI's TALES By THE THEME OF INNOCENCE IN MIYAZAWA KENJI'S TALES by TAKAO HAG I WAR A ' M. A., The University of British Columbia, 1979 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES Asian Studies Department We accept this thesis as conforming to the required standard THE UNIVERSITYVBRITISH COLUMBIA August 1986 (£)Takao Hagiwara, 1986 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Asian Studies The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date September 5, 1986 [ ABSTRACT Miyazawa Kenji (1896-1933), an exceptionally prolific poet and children's story writer, was little appreciated by his contemporaries, but after his death his literary fame grew rapidly. This neglect can be traced to a lack of understanding of Kenji's cosmology which gave rise to his unique sense of innocence. He expressed this sense of innocence through both his literature and his life. This dissertation is an attempt to clarify the nature of Kenji's idea of innocence as exemplified, specifically, in his tales. Chapter 1 presents a biographical sketch of Kenji. It provides the necessary contextual information for analyzing his tales and explores the ways in which he expressed innocence in his life. Indeed, Kenji's life closely parallels his literature and can be seen as a "meta-text," as yet another tale whose central theme is innocence. Chapter 2 dicusses the relationship between Kenji's ideas of innocence and "the other world," or ikukan. in terms of certain dichotomies such as Iwate (nature) vs. Tokyo (culture), art (imagination) vs. life (reality), and life vs. death. These conceptual pairs will also be considered in relation to another opposition, the center-periphery or "unmarked- marked" opposition. Chapters 3 and 4 focus on how Kenji uses symbolism in his tales to express his ideas of innocence. Ideas from a wide variety of sources, including psychoanalytic theory, various schools of literary criticism, anthropology and religion, are used in analyzing Kenji's symbolism. These ii chapters will establish that Kenji's innocence is of cosmic scale and is often expressed through mandala-like images in which the center and the periphery interpenetrate. Chapter 5 examines stylistic features of Kenji's tales such as his use of Iwate dialect, songs, onomatopoeia, and scientific vocabulary, in their relationship to the Issues of innocence, ikukan and the center-periphery dichotomy. The conclusion attempts to provide a synthetic view of innocence in Kenji. This chapter argues that Ken j is ideas of innocence are best understood in relation to his cosmology which can be explained in terms of a special type of cyclicity and circularity. Indeed, the structure of Kenji"s universe may be compared to that of the Mobius strip in which ends are connected to beginnings through a simple half twist; this built-in twist generates the vital and energetic innocence seen in Kenji's literature as well as in his life. iii Table of Contents Introduction 1 Chapter 1 A Biographical Sketch of Miyazawa Kenji 9 Chapter 2 Kenji's Ideas of the Other World (Ikukan) 62 Chapter 3 The Symbolism of Interpenetration in "The Fourth Day of the Month of Daffodils" 96 Chapter 4 The Symbolism of Death and Rebirth in The Night of the Milky Way Railroad" 129 Chapter 5 Style and the Idea of Innocence in Kenji's Tales 181 Conclusion 212 Appendix I 223 Appendix II 224 Appendix III 225 Appendix IV 226 Selected Bibliography 227 iv ACKNOWLEDGEMENTS I am deeply grateful to my supervisor, Dr. Kinya Tsuruta, for the kind and invaluable direction that he has offered me through all the stages of this project. I am also indebted to the members of my thesis committee, Drs. John Howes and Michael Duke, for their patient and valuable advice. I am thankful, too, to Drs. Leon Zolbrod, Leon Hurvitz, Ken-ichi Takashima, Shotaro lida, and Anthony Wilden for their encouragement and Intellectual guidance, to the Asian Studies Department for its support, and to Mr. Tsuneharu Gonnami and other librarians of the Asian Studies Library for their help in providing me with sources. I would also like to express my gratitude to Professor Takahito Momokawa for his stimulating conversations and for his assistance in collecting references, to Mr. Seiroku Miyazawa for his kind response to my inquiries about Kenji and for the hospitality he extended to me at his home in Hanamaki, and to my mother, Misao Hagiwara, for her endless patience in sending me books and love from Japan. Finally, I owe a special debt to my friends; in particular I would like to thank Denise Allard and Kim Adams for their helpful editorial advice, typing and moral support. v 1 Introduction Miyazawa Kenji1 % ^(IQ (1896-1933) was an exceptionally energetic and creative figure who, during his short lifetime, engaged in a diverse range of activities and occupations. Along with his career as a poet and "children's story" writer,2 he was also a soil scientist, a religious thinker, a teacher, farmer, social reformer, and engineer-salesman. In most of these roles, he was not merely active, but outstanding, demonstrating tremendous originality of thought and expression. Certainly, if one were to consider only Kenji's literary career, it could be argued that he is without counterpart in the tradition of Japanese literature. Indeed, his exuberant style, based upon a highly idiosyncratic cosmology, seems to place him in a category of his own. Though Kenji received little recognition as a writer during his lifetime, his literary fame grew rapidly after he died. To date, six different editions of his collected works (seven, if we include the work currently being published by Chikuma Shobo) and innumerable books, periodicals and 1 In this dissertation, Japanese names will be cited according to conventional Japanese style; i.e., the family name first, followed by the first name (except for people of Japanese descent living in Western countries, where the Western practice of first name-family name will be adopted). Also, following the custom of the Japanese critics and readers of Miyazawa Kenji, Kenji's given name, rather than family name, is used. 2 In spite of the fact that Kenji himself called his stories dowa (children's stories) and wrote them in that style, the term "children's story" does not seem to be quite appropriate because his stories are often abstruse for children, and too much so for the very young. In this dissertation, therefore, we shall generally use the term "tales" (or occasionally "stories") rather than "children's stories." 2 articles related to Kenji studies have been published. It is probably safe to say that in the post war period, few primary or secondary school students in Japan graduate without having read one or two of Kenji's poems or tales. And recently, even in the non-academic world, Kenji has become extremely popular. Comic books and animated movies based on or adapted from his tales have been published commercially, while in Hanamaki, Kenji's birth place, various public works commemorate him, and every souvenir shop sells cakes and other gift items bearing his name or a passage from his poems. The situation outside Japan, of course, is quite different. Naturally, what might be called Kenji sangyo (lit. Kenji tourist industry) is confined to Japan, and there is relatively little scholarship concerned with Kenji outside the country. Recently, however, there has been a growing interest in Kenji and his literature among Western academics as well. For example, a number of translations and studies of Kenji's works have been published in English, German, and Swedish. In English, these translations and studies include Gary Snyder's translations of Kenji's poems in his Back Country.5 Hiroaki SatS's Spring and Asura: Poems of Kenji Miyazawa.* John Bester's Winds and Wildcat Places5 and Winds from Afar.6 both translations of 3 Gary Snyder, The Back Country (New York: New Directions, 1968). * Hiroaki Sato, trans., Spring and Asura: Poems of Kenii Miyazawa (Chicago: Chicago Review Press, 1973). 5 John Bester, trans., Winds and Wildcat Places (Tokyo and Palo Alto: Kodansha International, 1967). 6 John Bester, trans., Winds from Afar (Tokyo and Palo Alto: Kodansha International, 1972). 3 Kenji's tales, Mallory Fromm's "The Ideals of Miyazawa Kenji,"7 Makoto Ueda's substantial chapter on Kenji in his Modern Japanese Poets and the Nature of Literature.8 and Sarah Strong's "The Poetry of Miyazawa Kenji."9 One might wonder why Kenji attracts such widespread attention today, both in Japan and increasingly in the West, when he was almost totally unknown to, or rather ignored by, literary circles in Tokyo during his lifetime. In the most general terms, each of the studies mentioned above may be seen as an attempt to answer this question. Certainly, to the extent that it is concerned with explaining the meaning—and hence the appeal—of Kenji, the present dissertation is also such an attempt. More specifically, however, this study is about the idea of innocence in Kenji's work. Literary scholars, critics and translators have so far treated the issue of innocence in Kenji's work only tangentially or indirectly, especially when discussing 7 Mallory Fromm, "The Ideals of Miyazawa Kenji: A Critical Account of Their Genesis, Development, and Literary Expression," Diss.
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